2024
Woodcut260 x 190 x 260 x 130 cm
14 Woodcut panels (variable sizes)
Based on a photograph with a dystopian view of ruins in Berlin after bombings in 1945, this trapezoidal work renders the original subject almost entirely abstract. Destructive feelings are a starting point for creative work that produces something new and enables alternative perspectives. This work explores the relationship between flatness and three-dimensionality, which manifests itself in the medium, the trapezoidal shape of the woodcut, and vanishing points within the depiction.
Photography by Studio Seghrouchni
2023
Woodcut on textile294 x 180 cm
Seven woodcut panels incorporate three different themes: transience, desire, and landscape. Each plate was manually printed three times on the textile in a different order and mirrored. The multiplication of the same elements creates surprising and sometimes confusing combinations that challenge familiar visual hierarchies and analyse the relationship between repetition and diversity.
Photography by Studio Seghrouchni
2023
Woodcut84 x 120 cm
4 panels, each 42 x 60 cm
This four-part woodcut work is based on archival images of the Gothic church of St Martin in Ypres, Belgium, which was destroyed in the First World War and later rebuilt. Destruction and continuity resonate in this maltreated landscape with a figure reminiscent of Christ.
The woodcut was created for the group exhibition CROSSING WAYS at the Musée d’Art religieux moderne, Basilique de Koekelberg in Brussels, where new works encountered objects from the museum's collection.
2023
Woodcut180 x 252 cm
18 panels, each 42 x 60 cm
18 carved wood panels are coloured with printing ink and form a transcendental motif. Good and bad, light and dark, exchange their qualities. What possibilities does the hostile, dark space offer the fleeing subject? Why does the agitated figure leave the lighter half of the picture?
2021–2023
Watercolour, pastel, graphite on paper and cardboardSeries
26 x 36 cm
Figuration and abstraction merge in this series and mark the transition between different visual orders. What seems separable - colour and form, inside and outside - is called into question in the watercolours. The human body serves as a reference, whose openings and fluids co-determine visual perception, or which, in sexuality, connects with others and makes boundaries unrecognisable for a brief moment.
2021
Ceramics67 pieces
Variable sizes
The mask-like faces reference primary forms of human skulls but remain an illusion. Their dents and furrows hint at emotions or destinies: imagination is a constant companion of these shadowy clay forms, which throw us back on our transience.
2019
Monotype, watercolour Series
42 x 29,7 cm
This series is the result of a field trip to Iran and was inspired by the Persian tradition of miniatures. Homoerotic poems by Saadi (early 13th century) and Ubayd Zakani (1300–1371) have also influenced the monotype and watercolour series. Tenderness, as well as same-sex relationships between men, are located both in the past and in the present.
2019
Woodcut on vellum95 x 70 cm
Following extensive research into incunabula (an early form of book printing) and an analysis of their structure and materiality, a reinterpretation of Hartmann Schedel's world chronicle Ultima Etas Mundi (The Last Judgement) from 1493 was the result of this process. The work builds a bridge to the origins of modern printing techniques in connection with Christian iconography. While Schedel's coloured illustration clearly distinguishes between good and evil, the harsh contrasts and abstract imagery of the black-and-white woodcut adaptation appear altogether more threatening and call into question the idea of a heavenly paradise.
Photography by Nadia Hauri
2018
Woodcut, woodobjects, ropesVariable sizes
Sexuality takes place on a spectrum between pleasure and pain, security and isolation. This woodcut combines self-portraits and intimate moments that appear as incomplete, remembered images. The roughly treated material unveils the desire to be an object and consciously expose oneself to a partner's control. Pain can heighten the sensation, but it also runs the risk of leaving behind injuries.
Photography by Plymouth Rock Zurich
2018
InstallationMixed media
350 x 200 cm
Objects and moulded body parts are covered in black paint and entangled in a chaotic, net-like fabric. The unusual texture allows for various associations but deliberately displays human body fragments as part of a larger order. Limbs and found objects resemble each other so that hardly any difference between the two is recognizable – as if we were to rethink our bodies.
Photography by Nadia Hauri